It may seem counter-intuitive, but I honestly think the latter. Though once you've chucked your "worst three" away, try and polish the "good three" to as good a standard as you can.
Newsjack - Series 5 Page 74
Fair enough. Though a BBC script editor once told me the opposite. Mind you, he could've just been trying to get me to submit less stuff...
Well, I guess opinions may differ from script ed to script Ed, and from show to show! There is no "hive mind".
Btw, I'm certainly not saying "submit more" - but by giving yourself more options before you choose what to submit, you've got more chance of striking gold.
Listen to Mr Writer -- he knows his stuff.
Just to add my two-penneth: (and thanks The Producer!) Yes, I've had stuff in every series, some more successfully then others but I've submitted three sketches for every single episode over that run. This included (a couple of weeks ago) a weekend where I had to best man at a wedding and didn't get back till 9pm on Sunday night, having read no news whatsoever. By 1am, I'd forced myself to read three days' worth of papers and write three sketches.
They were shit, yes, and literally *everything* was funny by 1am, so there was no useful internal editing happening, but the point is (in my opinion) you should be submitting three sketches. (So, well done David Salisbury, in that respect)
Weeks where I've been more successful, I am conscious I have, more often than not, written more than three sketches. I'm sure it's been said more than once by more than one producer/script editor/professional writer, but to get anywhere in comedy-writing, you're better writing a consistent stream of 'good' sketches than a single 'awesome' sketch. The awesome sketch will get you on, the good sketches will get you noticed.
The people who have written six sketches a week and picked the best three, are the people doing far better out of Newsjack than I am. And rightly so. I'm planning to do this next series. Be prepared for *those* rejects in Critique...
Apologies for the vast number of commas in this post. Now I have stopped reading The Sun regularly, I feel I have to compensate.
,,,,,, ,, ,,,,, , ,
Ah....
Dan
Just a thought guys. Why stop just because NJ has? There's still NR, RR and Treason out there as the obvious outlets.
I listen to all opinions, Dan. I don't think we're actually disagreeing, much.
Anyway, series lessons/reminders for me:
Make more time for writing
Gag it up. The introductions to sketches are a great opportunities for jokes, not space to drily introduce a subject, for example
Look for a unique angle
Read a wider range of papers. Several stories seem to be covered each week that I hadn't heard of.
No, I know 
The other thing is: I read all my previous submissions this week. This series, my writing is markedly better than previous series, certainly in terms of cutting the crap lines/self-editing. So the writing more will help, regardless of the success.
I am not about to package that in a book or course, pretending that 'write more!' is a magic secret or anything.
Dan
Quote: swerytd @ October 21 2011, 10:36 AM BST'write more!' is a magic secret/../I am /.../ about to package that in a book...
Dan
Dan's own words.
Bit of a curate's egg again I felt. Some bits were inspired. I liked the Air India runner. Some bits were just cringe inducing. The doctor sketch? Please. And justifiably PC Gonemad fell flat.
But definitely getting more edgy and thanks for the warning about 69. I don't always remember to listen right to the end. (It's my age.)
Going to miss that breathless wait between 5 and 6 on a thursday for the next few months.
I thought PC Gonemad was a good gag!
It was recorded in what was pretty much a school hall this time. That didn't help. The atmosphere was much better in the comedy club last week, I thought.
Dan
I didn't get anything performed this series, but nevertheless, I have enjoyed the past six weeks immensely.
Comparing my submissions this week; to those I sent back in week one, I can see a definite improvement in quality. I also feel that the experience of having to quickly bounce back from the disappointment of rejection; week after week, has toughened me up quite a bit.
Roll on series 6...
Just to put my earlier comment in context, I've also listened to Tonight and again thought that of the two NJ was better.
I think I just get a bit frustrated with NJ because there is so much good stuff posted on here which doesn't make the cut but that's comedy marmite.
In reply to a question asked a long time ago I would say over the many series of NJ I've learnt
- More writing makes for better writing, keep writing between series!
- Tighten up sketches and editing, that's the one bit I really struggle with from the 'read Sunday papers' to 'write 3 sketches' in such a short period of time
- Push every joke, line, app etc. to be shorter and funnier
Clearly everyone has their own style but I'm not sure about 'not going with the idea that you first thought off' quite works for me. I mean yes if it's 'Eric Pickles is fat' probably but things I've got on over the years have often been based on a 'first thought'.
And rejecting ideas/sketches is always tough. Particularly when you see sketch ideas you rejected make it on!
I also think if you write six sketches you like why not send them all in, two e-mails of 3 sketches each if you like. Are you really going to get a black mark against your name and if they're all of a decent enough quality you're gonna look like a comedy hero!
Also, my piece of advice would be - ask for feedback. Always.
I fear the point may have passed you by. 
The idea of writing six sketches is to improve the quality of the three you send.
Anyway, rules are rules, they say max three. Don't get sent to the topical doghouse, the hoops are hard enough to jump through as it is.
I also think "feedback" is a bit of a false goal.
If your sketch didn't get on, have a stab at working out why for yourself. That's going to help you get closer to your goal than asking someone who isn't being paid for their time to give you a neccessarily sugar-coated message because they don't want to risk you emailing them every day calling them names.
The only really useful feedback I've ever got has come from producers with whom I've been able to set up a relationship with. With anyone I don't know, the most useful feedback I've had has been "your sketch got on/didn't get on."